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Click here to subscribeSTAR WARS: A CARRIE FISHER autographed cheque for the sum of $201.40 dated 1980, the cheque is headed with Carrie Fisher's name along the top and was apparently for Xmas Gifts, together with an 8" x 10" colour photograph of Carrie in costume as Princess Leia from STAR WARS. This lot has been independently checked by Garry King and comes with an Excalibur Auctions Certificate of Authenticity
JACK HALEY - A cheque signed by Jack Haley the actor who portrayed the Tin Man in The Wizard of Oz (1939) in a cardboard mount displayed with a black and white image of his character, this item has been independently checked by Garry King and comes with an Excalibur Auctions certificate of authenticity
Fidel Castro signed vintage cheque with accompanying 10x8inch vintage black and white photo. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
LAURENCE STEPHEN LOWRY (BRITISH 1887-1976) GOING TO THE MILL, 1925 signed and indistinctly dated (lower left), oil on panel 43.2cm x 53.4 cm (17in x 21in) Acquired directly from the Artist by A.S. Wallace, 1926, and thence by descent to the present owner. Exhibited:On long-term loan to Pallant House Gallery, Chichester, 2013-2024L S Lowry’s early masterpiece Going to the Mill was painted a hundred years ago and, quite remarkably, has been in the same private family collection for all but one of those hundred years. It was acquired directly from Lowry by the journalist A.S. Wallace, an editor at the Manchester Guardian who had illustrated three of Lowry’s works in the special ‘Manchester Civic Week’ supplement published by the paper. Civic Week was held from the 2nd to the 9th of October 1925, ostensibly to celebrate Manchester’s industrial success, but also with an ulterior motive to discourage the city’s disgruntled workers from going on strike. It was the grim nature of the workers’ lives that, of course, interested Lowry, but which also made it hard for him to find an audience for his visual elegies of the industrial city – a concept that is perhaps hard to fathom now, for those of us that have grown up knowing Lowry as one of Britain’s most celebrated ‘painters of modern life’. During Civic Week, Lowry’s works were displayed in Lewis’s department store, where they were mostly passed by – despite the favourable reviews the Guardian had given his first solo show in 1921. A.S. Wallace, however, fell for Lowry’s depictions of the ‘lovely, ugly town’ (to borrow from Dylan Thomas’s description of his hometown of Swansea), striking up a friendship with the artist and asking to buy one. Lowry duly obliged: Going to the Mill is marked on the back as being £30 – Lowry let Wallace have it for £10. If not his first ever sale, this has to have been one of his earliest. He also threw in an additional work - The Manufacturing Town. The Wallace family still have Lowry’s letter of 9th November 1926, in which the artist writes: ‘Many thanks for your letter and cheque £10. I am very glad Mrs Wallace likes the picture Going to Work and take the liberty of asking you to please accept The Manufacturing Town as a souvenir of the Civic Week. I can assure you that it will always be with great pleasure that I shall think of that Saturday morning.’ The latter painting was sold by the Wallace family – with Lowry’s blessing, as he understood that a new generation of the family needed help getting set up – and is now in the collection of the Science Museum in London. Going to the Mill was kept – recently being on long term loan to Pallant House Gallery, Chichester, and only comes to market now as a further generation finds themselves in need of a ‘leg up.’Going to the Mill is the epitome of a 1920s Lowry, when he truly becomes a unique voice. In the overall smoky, sooty quality of the sky and buildings – it will be a few years yet before Lowry begins to stage his visions of the city against isolating backgrounds of plain flake-white – we see the influence of his teacher, Alphonse Valette, who had been drawn to Manchester precisely for its grit and the Romantic quality of its dark streets and thick polluted skies, the poetic fallacy of heavy-set architecture shrouded in smog, from which individual stories emerged, lamp-lit for moments, before being swallowed up by the gloom. Yet Lowry holds our attention to these individual lives much longer (and this is eventually the function of those white backdrops, to separate individuals from the mass and to hold them in time). Looking at Going to the Mill, initially all we see is a crowd, drawn inextricably – like water pouring towards a drain – to the gate of the mill on the left. But Lowry invites us to spend time looking, and slowly the painting reveals the men walking away from the mill, the woman standing alone looking out at us, drawing the viewer into the lives of others, or the man carrying what seems like a large portfolio, who could be an avatar of Lowry himself. As such, the crowd is broken down into individuals, each with a story – a story that Lowry himself manages to capture with a flick of the brush, a weighting of the paint, a bend of the knee or turn of the shoulder. Going to the Mill shows us that he is no naif painter of ‘matchstick men and matchstick cats and dogs’ as the old pop song goes – this is an artist of true dexterity who is making a deliberate formal choice, abstracting the figure, in order to express a concept, the sense of a life lived in even the smallest, most incidental figure. His works are as composed and deliberate as Seurat’s A Sunday on La Grande Jatte but imbued with an intensity of feeling more easily found in Van Gogh’s early paintings of Dutch peasants. These comparisons are not over-blown, not least as Lowry, in the early 30s, was one of the very few British artists exhibiting in the Salon in Paris and gaining recognition for the precision and intensity of his vision. And it is important to note that it was T. J. Clark, the great art historian of French painting of the late 19th and early 20th century, who curated Lowry’s 2014 Tate retrospective and presented Lowry deliberately as another of the great ‘painters of modern life’.Lowry’s paintings are never simple renditions of what he saw on the streets of his beloved city (or, more accurately, cities – Salford and Manchester). Works such as Going to the Mill are theatrical in their conception, which is why the ‘backdrop’ of the mill at Pendlebury repeats itself, often in altered configurations, throughout his works – such as the slightly later A Town Square, formerly in the Midland Bank collection, which sold at Sotheby’s in 2024. The city becomes a stage for an exploration of loneliness, isolation, loss, hope, although in Lowry’s hands the buildings themselves function as actors – figuring birth, marriage, death and the tyranny of mill-time, before, in later works, they are enveloped in an all-consuming white of Beckettian structure. Lowry was an inveterate theatre-goer who – intriguingly, instructively – cited both the 1920s ‘kitchen sink’ drama Hindle Wakes and Luigi Pirandello’s absurdist masterpiece Six Characters in Search of an Author as highly influential on his work. The breadth between these two plays indicates the breadth of Lowry’s conceptual framework for his apparently ‘simple’ painting. This conceptual reach, centred on the urban experience, is – as T. J. Clark argues so persuasively - what makes Lowry so relevant today, in our world of megalopolises, many of them growing at the same break-neck speed as Victorian Manchester once did.
The 'Battalion of Passchendaele 1917' D.S.O, M.C. group of six awarded to Lieutenant-Colonel R. A. Rochford, Royal Warwickshire Regiment, late Royal Inniskilling Fusiliers and Grenadier Guards, awarded a field commission in 1915 he served with distinction, losing an arm in the same action which won him the D.S.O. he remarkably continued to serve and was responsible for the defence of Avonmouth docks and Filton Aerodrome during the Second World WarDistinguished Service Order, G.V.R. silver-gilt and enamel; Military Cross, G.V.R., unnamed as issued; 1914 Star, with clasp (13664 Sjt: R. A. Rochfort. 1/G.Gds:); British War and Victory Medals (Capt. R. A. Rochfort.), with M.I.D. oak leaves; War Medal 1939-45, mounted as worn, nearly extremely fine (6)D.S.O. London Gazette 15 April 1915, the original citation states:'For conspicuous gallantry and devotion to duty. When the Battalion, on its way up to the line, was heavily bombarded with gas and other shells and was in danger of losing its way in the gas masks in the darkness, he placed himself at the head and guided it to its forming -up place in time. Although severely wounded the following day while leading his men, he remained with them for nearly two hours, until forced to desist through sheer exhaustion. He showed splendid determination and resource.'M.C. London Gazette 17 April 1917.M.I.D. London Gazette 15 June 1916.M.I.D. London Gazette 23 May 1918.Richard Adair Rochfort, whose middle name is sometimes spelled Adare, was born at Dulwich in December 1880, the son of Marcus and Mary Rochfort. His father was a mining engineer in India and returned to Britian just prior to his son's birth, settling at Roslwyn, Lewisham. He himself was married at Forest Hill, Lewisham in 1907, his career listed as farmer.Rochfort entered the war in France on 6 October 1914 with the 1st Battalion, Grenadier Guards in the rank of Serjeant. Detached to serve with the Army Cycling Corps, he was commissioned 2nd Lieutenant on 15 April 1915 with the Royal Inniskilling Fusiliers. Further advanced Captain on 12 October 1915 Rochfort was later transferred again to the Royal Warwickshire Regiment and began to serve attached to the 6th Battalion, Royal Berkshire Regiment.Rochfort was attached to that Regiment when he was awarded his M.C., so it is likely that he joined them at some stage in 1916. They saw action during the taking of the Schwaben Redoubt from 25-27 September before leaving the line over Christmas 1916. Leaving their billets for action in early 1917 they were heavily involved in the Battle of Boom Ravine from 17-18 February, and it was likely for one of these two actions that Rochfort was awarded the M.C.Remaining with the Regiment he was still with them at the opening of the Third Battle of Ypres. They were severely mauled attacking Sanctuary Wood, and during the course of that action one member of the unit, Medical Officer Harold Akroyd, was awarded the Victoria Cross. Their final engagement was at Poelcappelle, starting on 9 October, during which the C.O. Lieutenant-Colonel Longhurst was killed in action. Rochfort succeeded in leading the Battalion into action two days later however his wounds were severe enough his arm was had to be amputated.Despite this injury he remained in service until the end of the war. He was accused of passing a bad cheque in 1923 while Adjutant of the London Regiment, but was subsequently acquitted of the crime. His obituary in the Eastbourne Gazette gives further details to his career stating:'Col. Rochfort, who served with the Grenadier Guards, was responsible for the defence of the Avonmouth docks and Filton aerodrome during the last war.'It goes on to note that Rochfort retired at the end of the Second World War and died at the Royal Victoria Hospital, Netley on 23 July 1954; sold together with copied research.…
A fine Basset-Lowke boardroom model of the Warwick Castle, the laminated and carved wooden hull finished in red and lavender grey with white topsides (Castle-Line livery), lined lacquered decks with detailed gilt, silvered and painted fitting including winches with chains, anchors, ventilators, deck rails, painted and lined superstructure with covered lifeboats, powered by Bassett-Lowke steam plant driving a single screw propeller, approx 140cms long, mounted on a display stand within its original glazed display case, case size 162cms wide, 62cms high, 40cms deep. Provenance: the ship was commissioned by Mr H M Blenkinsop Esq, 1 New Street, Warwick, in 1935 with various correspondence letters between Bassett-Lowke Ltd and Mr Blenkinsopp charting the models progress including a letter acknowledging receipt for a cheque of £10:10s, another for the supply of the display case, blueprint drawings and a facsimilie photograph depicting Warwick Castle in steam, summer 1936. Provenance: from the collection of the late Tony Cuff.
Zeppo Marx signed Security Pacific National Cheque dated 28.8.73 comes with 10x8inch black and white photo. Herbert Manfred "Zeppo" Marx was an American comedic actor. He was the youngest, and last survivor, of the five Marx Brothers. He appeared in the first five Marx Brothers feature films from 1929 to 1933, and then left the act for careers as an engineer and theatrical agent. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
SIGNED CHEQUE. – Alex KERSHAW. Jack London, A Life. London: Harper Collins, 1997. First edition, with a tipped-in signed cheque written and signed by Jack London, 8vo (233 x 149mm.) Errata slip, photographic illustrations. (Mild toning, small tear to the cheque.) Original black cloth, dust-jacket. Note: the cheque is made out to the ‘Sunset Telephone Co.’ to the amount of $4.35 and is stamped ‘APR 7 1905’ in purple ink by the ‘Central Bank, Oakland’. London spent much of his childhood in Oakland and the waterfront bars include Johnny Heinhold’s ‘First and Last Chance Saloon’ which inspired much of ‘Call of the Wild’ and ‘The Sea Wolf’ and is mentioned many times in ‘John Barleycorn’. Oakland also has a ‘Jack London Square’ and ‘Jack London Train Station’. Provenance: from the estate of the late David Sadler.
RANGERS F.C., S.F.A. LETTER REGARDING PAYMENT OF PLAYERS INVOLVED IN SCOTLAND VS. SPAIN MATCH, MATCH 8TH MAY 1957, LETTER DATED 9TH MAY 1957 the match a World Cup qualifying match (which Scotland won 4-2), detailing a cheque for £230, with payments to S. Baird, G. Young, I. McColl, E. Caldow, A. Scott
Clark Gable signed Security First National Bank Los Angeles Bank cheque dated November 4, 1949. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
MARIA TUKE (BRITISH, 1861-1947) (7)Henry Scott Tuke. R.A., R.W.S. A Memoir. London: Martin Secker, 1933. 8vo (218 x 140mm). Half title, coloured frontispiece portrait, plates (some staining to title). original blue buckram gilt. FIRST EDITION, PRESENTATION COPY, with separate note inscribed 'from Mrs M.T Sainsbury/ 5 Provost Rd./ Hampstead/ NW3/ With many thanks/ for your idea & cheque/ I do hope you will/ like the book/ Dec 5 1933 MTS' Together with three letters from the author to Andrew Dennison and four from him in response (7)ProvenancePrivate collection, UKFootnoteDated between 7th September 1933 and 14th March 1934, the correspondence was prompted by a notice posted by Maria Tuke following the obituary of Mr S.M. Ellis who had written a biography of Tuke that was never published '...for various reasons, one being its excessive length.' Dennison writes how he '...knew Mr Tuke quite well at Falmouth/ and I have somewhere, a number of photographs I took/ of him, and if by any chance these would be of any/ interest to the person writing the memoir, I would/ be pleased to look them up.' Although not included in the biography Dennison sent an album to Maria including some twenty-two photographs with Maria responding 'I am very grateful for all/ the pictures, they do indeed/ bring back my brother and his life at Swanpool, all of/ them show the things he cared for, and all are excellent.' Maria offers Dennison a complimentary copy of the biography but he responds '...I do not really/ want to take advantage of this' and encloses instead a cheque for two copies.
Errol Flynn 12x8 mounted signed vintage cheque dated 1945 and colour photo .Mounted to a high standard. Good condition . All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
SOLZHENITSYN ALEKSANDR: (1918-2008) Russian writer and prominent Soviet dissident, Nobel Prize winner for Literature, 1970. D.S., A Solzhenitsyn, being a signed cheque, n.p. (New York?), 15th August 1983. The partially printed cheque, completed in typescript, is drawn on the Manufacturers Hanover Trust Company and is made payable to Reiner Braukmann for the sum of $25. It would appear that the cheque was never deposited and bears no bank cancellations. EX
SALISBURY MARQUESS OF: (1830-1903) British Prime Minister 1885-86, 1886-92 & 1895-1902. A.L.S., Salisbury, one page, 8vo, Hatfield House, Hatfield, Hertfordshire, 2nd July 1869, to the Reverend A. Townsend. Salisbury states that he has pleasure in enclosing a cheque (no longer present) ´for the object in respect to which your letter is written´, and further remarks ´I wish that the many claims upon my assistance would allow me to make it larger´. With a contemporary pencil annotation to the head of the page, presumably in the hand of Townsend, ´Reply to request for assistance in restoring the Parish church of Wick St. Lawrence, Co. Somerset. Cheque for £20 enclosed´. VG
POPULAR MUSIC: Selection of signed 8 x 10 photographs and smaller (1) etc., by various male popular singers and musicians comprising Chubby Checker, Fats Domino, Cliff Richard, Rudy Vallee (signed cheque, 1946), Perry Como, and B. B. King. The majority are boldly signed, largely to clear areas of the images, and two are inscribed. Some of the images are slightly giany reproductions. Colour (1). VG, 6
[CARTER HOWARD]: (1874-1939) English archaeologist and Egyptologist who discovered the Tomb of Tutankhamun in 1922. ALBA DUKE OF (1878-1953) Jacobo Fitz-James Stuart. Spanish peer, diplomat, politician, art collector and Olympic medallist. One of the most important aristocrats of his time, the Duke was considered by some as the legitimate heir to the Scottish throne, and served as the Foreign Minister of Spain 1930-31. A.L.S., Alba, one page, 4to, Claridges (Hotel, London), 20th October 1933, to Howard Carter (´My dear Carter´). The Duke thanks Carter for their letter and cheque, remarking ´I think the latter is much too large but as you are a tenacious fellow I won´t argue!´, further writing ´I also loved our trip & am only sorry the sea behaved so badly or the medicine would not act!´ and concluding ´I hope to see you before you leave: an off to the county to golf over weekend, returning Monday´. VG
SILVERS PHIL: (1911-1985) American comedy actor and entertainer, remembered for his portrayal of Master Sergeant Ernie Bilko in The Phil Silvers Show. D.S., Phil Silvers, being a signed cheque, Los Angeles, California, 2nd August 1974. The partially printed document, entirely completed by Silvers, is drawn on the City National Bank and made payable to cash for the sum of $180. The bank cancellation does not affect the signature. One light vertcal central fold, otherwise VG
LIVE AND LET DIE: Selection of signed 8 x 10 photographs, signed clipped piece (1) and a signed cheque, by various actors and actresses who appeared in the James Bond spy film Live and Let Die (1973) comprising Yaphet Kotto (Dr. Kananga/Mr. Big), Geoffrey Holder (Baron Samedi), David Hedison (Felix Leiter; signed cheque), Gloria Hendry (Rosie Carver), Madeline Smith (Miss. Caruso), Della McCrae (tribal dancer), and Bob Dix (Hamilton; signed piece accompanied by an unsigned colour 10 x 8 photograph from the film). All are boldly signed, largely to clear areas of the images, some actors also adding their character names beneath their signatures. None are inscribed. Colour (4). VG to EX, 7 + 1
MARX ZEPPO: (1901-1979) American comedy actor, one of the Marx Brothers. D.S., Zeppo Marx, being a signed cheque, Los Angeles, California, 5th July 1977. The partially printed cheque, completed in typescript, is drawn on the Security Pacific National Bank and made payable to Alexander Tucker for the sum of $32.12. A red ink bank cancellation only very slightly affects the first letter of the signature. A staple appears in the upper left corner. VG
Lehmann (Germany) Tinplate Clockwork ‘OH-MY’ Alabama Jigger, EPL 685, circa 1912-15, lithographed tin, jointed dancer with red cheque trousers, blue jacket, yellow tie and yellow hat, black and white spats, on tinplate base/stage housing working clockwork mechanism, when wound the dancer jigs up and down, turning around, overall in good original condition, some paint chipping to blue jacket. Approx H.25.5 cms (10inches)
Attributed to Adam de Colone, Dutch 1572-1651- Portrait of John Hay, 8th Lord Hay of Yester, later 1st Earl of Tweeddale, half-length, in a black and white slashed doublet and white lace collar; oil on canvas, dated 'AETATIS. 33 / 1628' (upper left), 64.2 x 55.4 cm. Provenance: The Marquess' of Tweeddale, Yester House, East Lothian and by descent. 'The Most Hon. The Dowager Marchioness of Tweeddale and the Trustees of the Most Hon. the late Marquess of Tweeddale' sale, Christie's, London, 1 May 1970, lot 45 (as 'G. Jackson'), £178.10. Property of the late Hugo Morley-Fletcher, MA FSA (1940-2022). Exhibited: Edinburgh, Scottish National Portrait Gallery, ‘Painting in Scotland 1570-1650’, August-September 1975, no.52 (as 'Adam de Colone'). Literature: J. Bullock, 'George Jamesone the Scottish Vandyck', Edinburgh, 1885, p.182, no.182, as 'George Jameson'. D. Thomson, 'The Life and Art of George Jamesone', Oxford, 1974, under Appendix B, 'Portraits attributed to Adam de Colone', p.149, no.22, as 'George Jameson'. Note: John Hay, 1st Earl of Tweedale (1595-1654) was a leading promoter of the National Covenant, an agreement signed by many people of Scotland during 1638, opposing the proposed reforms of the Church of Scotland (also known as the Kirk) by King Charles I. He was made an Earl in 1646. ‘Attributed to Jamesone by Bullock. Like its companion [Portrait of Margaret Hay], it has more recently borne an attribution to Gilbert Jackson. It has, however, none of that painter's characteristic naiveté: it does have many of those features which have been noted as characteristic of de Colone and is by the same hand as… above. Lord Hay of Yester, though a signatory to the Solemn League and Covenant, remained acceptable to Charles I and was created Earl of Tweeddale in 1646.’ (Scottish National Portrait Gallery, ‘Painting in Scotland 1570-1650’ exhibition catalogue, p.55). The sitter would have been an important sitter for the artist. He was - as part of the interconnected Scottish network of patrons and just as part of the wider Hay family - cousins with George Hay, Earl of Kinnoull, who sat to Adam de Colone, who in turn produced two portrait types of him, and Anne Hay, Countess of Winton, who sat to the artist at least twice. Adam de Colone clearly employed at least one studio assistant. While he wasn’t in the British Isles for long, there are versions of his full-length depiction of James VI and I (at full-length, three-quarter-length and half-length) that appear to be painted with the assistance of another hand, to meet the demand for copies of this particular composition. It is entirely possible therefore that the present lot was painted by both Adam de Colone and a studio assistant. The present work would have been a one-off composition of an important sitter and so it would have been very unlikely if the master was not involved in its production at all. A note on the collection:The following 14 lots belonged to the late Hugo Morley-Fletcher, the great European Ceramics specialist who worked at Christie’s for over 40 years and appeared on the BBC’s 'Antiques Roadshow' for over 25 years.Hugo was born in 1940 and spent the Second World War in his mother’s family’s ancestral home, Yester House near Edinburgh. Yester was built between 1699 and 1728 for the Marquesses of Tweeddale. In 1729 the 4th Marquess commissioned William Adam to carry out alterations, particularly to the interiors, but William died before the work was completed, and it wasn’t until his sons Robert and John Adam resumed work on it in 1759 that it was completed in the early 1760s. Yester is one of Scotland’s finest houses and its architecture, plasterwork and contents had a profound impact upon Hugo. His mother was also a talented sculptor, so art was in his blood. Shortly after his grandfather the 11th Marquess died in the late 1960s, the house was sold, along with a lot of the contents.Hugo had his own rather eccentric aristocratic style and sense of panache in tandem with an unerring confidence; this was off-putting to some, but utterly captivating to others. Working with Hugo at Christie’s was, at times, a little challenging, but it was certainly never dull. He loved wearing his green 'loden' cape that he had bought in Vienna, yet paradoxically, Hugo always retained his sense of Britishness. On one occasion, over 20 years ago, when we were in a tiny railway station in the middle of nowhere in Germany, we were struggling to get a ticket machine to work when a local kindly intervened to help. He then asked if we had been there the previous year. When we confirmed that we had, and asked why he asked, he replied that he remembered Hugo’s red socks!Hugo had a natural eye for art, frequently cutting straight to the key points of an object. His understanding extended beyond ceramics to encompass pictures and other decorative arts, and he had the ability to identify the best artwork in a room filled with things, whether it was ceramic or something different. He had a prodigious memory, priding himself in his ability to memorise the position of objects within a client’s house and retain that memory many years after the visit. He also had the ability to give a summary value of a collection after only the briefest of visits. He was often generous with his knowledge, but on other occasions would withhold it as a test. The study groups of saucers and small objects in this sale illustrate some of the fascinating complexities found in ceramics, and they would be an excellent vehicle for teaching.Hugo was a fine linguist and was completely untroubled by taking auctions in a variety of different languages. He also had a natural curiosity and understanding of other cultures, and Continental friends and clients were frequently surprised and impressed by his knowledge of both their history and current affairs, which often surpassed their own. His almost encyclopaedic knowledge of Royal and aristocratic families in Britain and the Continent meant that he understood how these families and historical events shaped the creation of ceramics of time, and as he once reminded me, with the creation of ceramics, ‘there is always someone writing a cheque’.Hugo was a tour-de-force in the ceramics world, publishing a number of specialist books included 'Investing in English Pottery and Porcelain' (1968), Meissen (1970), 'Meissen in Colour' (1971) and the 'Pflueger collection of Early European Porcelain and Faience' (1994). When he joined Christie’s in 1963 the market was dominated by Sotheby’s under the auspices of the great Tim Clarke. By the 1970s Hugo had reversed this. Two of the iconic sales of the 1970s were a highly important collection which was sold anonymously in March and October 1977, making a huge amount of money at the time. These were followed by many others.Later in his life Hugo became Prime Warden of the Worshipful Company of Dyers in the City of London which ushered in his charitable work with the Boucher Church of England Primary School, a disadvantaged school in East London. Hugo gave lessons in French and Latin, and in particular he was keen to promote reading, instigating the practice of the Dyers to donate a book to every pupil of the school each year.Text courtesy of Dominic Simpson, Consultant and former Head of European Ceramics at Christie’s.
Marilyn Monroe (1926-1962): actress and model, a Bankers Trust Company cheque signed in blue pen, made out to 'Hedda Rosten' for '$65.85' on the 18th August, 1961, signed by Hedda Rosten on the reverse.Note: Writers Norman and Hedda Rosten first met Monroe in 1955 when their friend, legendary photographer Sam Shaw, arrived at their Brooklyn apartment with the blonde starlet by his side. Best friend and former roommate to Arthur Miller’s soon-to-be ex-wife Mary—thanks to Marilyn—Hedda was initially hesitant to befriend her, but as time passed, the Rostens became two of Monroe’s most trusted friends. When Marilyn and Miller married the following year, Hedda served as her maid of honor. A nicely signed check from a difficult period in Monroe’s life, as she spent the end of 1961 recuperating from a variety of medical and emotional issues. This piece is not part of the Franz-Peter Bach collection.
European group of Travellers Cheque SPECIMEN's (24), a group of Thomas Cook SPECIMEN travellers cheques including Dutch Guilders, Sterling, French Francs (including 1000 Francs and a 200 Francs issued but not used), German Marks, Spanish Pesetas, Euro, some in folders stuck down one side, also a few facsimilies
World group of Travellers Cheque SPECIMEN's (42), a group of Thomas Cook SPECIMEN travellers Cheques, Thomas Cook issues including Australian Dollars, US Dollars (including a 1000 Dollar Specimen and a few issued not used), Canadian Dollars, Japanese Yen, Hong Kong Dollars, Sterling some in folders stuck down one side
A set of three Coutts & Co London cheques signed by members of Queen. The first cheque is made payable to Tony Brainsby for £578, dated 3rd September 1979 and has been signed by John Deacon and Brian May. The second cheque is made payable to Rock It Cargo Ltd for £93.51, dated 8th October 1979 and has been signed by John Deacon and Roger Taylor. The third cheque is made payable to Julie Dean for £200, dated 18th September 1979 and has been signed by John Deacon and Freddie Mercury. Each cheque measures 19cm x 10cm (7.4 inches x 3.9 inches). There are some small creases around the edges and light wear to the corners. The cheque dated 8th October has staple holes near the top left. The cheque dated 3rd September has a fold line on the right side and a crease running along the bottom edge. The condition overall is very good plus.
David Hockney (b.1937) cheque - cashed cheque from The Bank Of Hollywood, July 12 1991, signed by the artist. Provenance: from the estate of John Geary. John was illustrator and artist who worked for a number of design agencies and produced work for brands including Johnnie Walker, Chivas Regal, Coca-cola, Nike, Russian Standard and Levi Strauss.
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![[CARTER HOWARD]: (1874-1939) English archaeologist and Egyptologist who discovered the Tomb of Tutankhamun in 1922. ALBA DUKE](https://cdn.globalauctionplatform.com/45b0b23d-f22f-42d7-a7e3-b28a016ddfe5/21f0c012-f96f-47ba-b66c-b28f00b87c1b/468x382.jpg)
